Comments

At the onset of 1992, Fugazi headed out West to follow up on an invitation to play Rock for Choice at the Hollywood Palladium, a 4000 cap venue in Los Angeles on January 24. However, given the considerable mileage of such an undertaking by minivan, the band decided to stay in town to play a second gig (see FLS0419)at the venue on the following night. Both evenings, presented here, allegedly sold out easily.
Rock for Choice, initially conceived by L7 musicians and music editor of the LA Weekly Sue Cummings, is reported to relate to a series of benefit concerts over a period of some ten years (1991-2001), which provided musicians with an opportunity to perform in support of the pro-choice movement in the United States and Canada.
Apparently, this particular benefit on January 24, 1992 revolves around a period in time when the U.S. Supreme Court was about to consider the constitutionality of a 1982 Pennsylvania state law that limited access to abortions, an event which caused abortion rights advocates to fear that the high court, because of its conservative majority, might endorse the Pennsylvania law or even overturn the historic 1973 Roe v. Wade ruling that made abortion legal.
(...)

(...)
In Roe v. Wade, the Supreme Court at the time purportedly ruled that women, as part of their constitutional right to privacy, could terminate a pregnancy during the first two trimesters. Only during the last trimester, when the fetus can survive outside the womb, would states be permitted to curb or regulate the right to an abortion in a healthy pregnancy. The historic and controversial ruling, stated as reversing a century of anti-abortion legislation in America, was the result of a call by many American women for control over their own reproductive processes.
However, by 1992, three successive terms of Republican rule in the White House had weakened abortion rights with several states adopting legislation which could be considered at odds with the Roe v. Wade ruling. Such developments in turn sparked protests and concerned the pro-choice movement as to the possible outcome of the Supreme Court revision.
These 1992 events, which played out against the upcoming November presidential elections as well, eventually reached a pinnacle on the fifth of April that same year, as several hundred thousand protesters marched on Washington D.C. (see also, the April 3 & 4, 1992 Fugazi Rock for Choice benefit gigs at the Sanctuary Theater in Washington, D.C.).
(...)

(...)
Soon after, in Casey v. Planned Parenthood, the high court affirmed the basic ruling of Roe v. Wade which stipulates that the state is prohibited from banning most abortions since the right to an abortion is to be considered a constitutional right, yet also ruled that states may regulate abortions so as to protect the health of the mother and the life of the fetus, and may outlaw abortions of "viable" fetuses.
The court further proclaimed that any "substantial obstacle" or “undue burden” preventing a woman from obtaining a legal abortion is in violation of that woman's constitutional right to an abortion. From this perspective, some elements of the 1982 Pennsylvania Abortion Control Act, such as spousal consent, were considered unconstitutional, while other elements, such as a mandatory 24-hour waiting period to promote well-considered abortions or a parental consent provision for minors, were upheld.
However, coming back to the January 24 Fugazi benefit recording, and listening to the (incomplete) opening remarks provided by Kim Gordon (of Sonic Youth) and a certain Alex Winter, as well as to some of the spoken interventions in between songs, I feel nuance is lost, and that the complexity of the abortion rights debate pretty much gets reduced to the issue of kids as young as 13 being "old enough to do some fucking” and having the opportunity to, seemingly unconditionally, resort to abortion in case things do not turn out as planned.
(...)

(...)
As such, a whole range of pertinent issues including responsible parenting, responsible intimate relationships and awareness, other means ofcontraceptives, or possible emotional, psychological and physical consequences are simply not addressed. Understandably, from this point of view, the recorded document of the January 24 benefit can hardly be considered informative, and will arguably do little to convince ardent pro-lifers, or even undecided or moderate listeners.
Still, it should be noted that these recordings merely make up a very select and partial representation of the actual events at the time, and have to be considered accordingly. If anything, the benefit can be applauded as a sincere attempt to address the issue of civil rights and to get people involved.
And of course, there are the songs Fugazi performed as well. Songs which were as relevant and pressing at the time as they are today, and which arguably address issues such as social unrest, abuse of authority, gender identity, integrity, social or political awareness, self-government or self-determination. And what is more, Fugazi performed these songs to a tee, meticulous and passionate, feeding of an audience which can be considered welcoming and participating.
My personal highlights on the first night (the actual benefit concert) include Turnover, And The Same, Burning (which is off to a false start due to Guy and Ian berating security members for coming down hard on some kid), Suggestion into Give Me The Cure, Long Division, Blueprint and another crushing take on Glueman that brings the house down.
(...)

(...)
As to the gig on the follow-up night, it can be mentioned that it features no less than five songs from the In On The Kill Taker album, its official release still a year and a half off, including rare instrumental takes on Cassavetes and Great Cop, as well as tentative versions of Instrument (notably slow-paced, almost monotonous and introduced as Loss Could Weigh after part of the lyrics) or Facet Squared. Other personal favourites here are Lockdown, Waiting Room, Two Beats Off, or another phenomenal rendering of Reprovisional.
In hindsight, I'd say the recording of the second night will probably be of particular value to any Fugazi fan interested in the live shaping of songs (at that time) yet unreleased, or to anyone collecting the rarities. Still, I can well imagine that this particular performance partly failed to connect with a considerable number of attendees hoping to hear familiar work that very evening. Still, combined, I most definitely consider these recordings a choice addition to any collection.
Especially since I think both recordings sound really really good as well, the vocals and instruments overall well balanced in the mix. Plus, it is a treat to get a clear taste of Brendan's kick drum throughout these gigs, like a continuous underlying pulse or heartbeat, comforting and soothing.
To conclude, it is worth mentioning that the lineup of the January 24 benefit is rather remarkable, in that Fugazi headlined with the opening acts including Pearl Jam, which released its famed debut album Ten about six months earlier and would soon break into the mainstream.
(...)

(...)
Reference to their shared January, 1992 benefit can even be found in the 2011 "Pearl Jam Twenty" chronicle, and not only illustrates the awkwardness of the situation but ironically also lays bare some issues which would turn out to be quite challenging for PJ, and maybe particularly frontman Eddie Vedder, as they sought to come to terms with the situation they were soon to find themselves in: "Eddie Vedder had recently become enthralled with Fugazi's striking punk-powered hardcore sound, as well as the band's staunchly antimainstream bent and insistence on charging only five dollars for its always all-ages shows. At the show, he meets Fugazi's members for the first time and forms a quick and long-lasting bond with singer-guitarist Ian MacKaye, even accompanying him for a late-night meal at Denny's afterward."
The book further quotes Ian as saying "[t]here was a lot of excitement about them, which, to me, was coming out of nowhere. I didn't know them at all. They wanted to bring in special lights, like a follow spot. Fugazi's lighting show is pretty much white light. For years, we had these two halogen work lamps. I'm surprised people didn't sue us for blinding them. Anyway, I remember Eddie jumping into the crowd and being carried all the way to the back of the room and back again, with a spotlight following him the whole time. I think the promotion people were like, 'Let's accentuate that! That's the energy we need to go with!'"

I was at this show. My friend told me I should check out Pearl Jam. I squished down front for them. They bored the fucking sock off me. I flipped of the singer and pressed back out and took at nap at the back of the venue. woke up for Fugazi and spent the whole time in the pit. Kyeo was amazing. The whole floor became the biggest swirling pit I've ever been in. We were all just running is a mad circle. it was like a spint, everyone yelling...."Keep your eyes open!!
Good times.

Ugh pro abortion rally. Great show except for all the preacyness... If a 13 year old could fuck they can get an abortion... Nice. Then in the last concert in the series in 2002, they complain about G W bush dropping bombs and killing people? What ever happened to Personal responsibility. I do believe abortion should be kept legal for certain cases but dont kill a baby for birth friggen control... sorry, fetus outside the womb.

Even though the sound quality is only rated "good", this show sounds fantastic! The band is on fire and puts down a great performance. An essential recording in my humble opinion and an immense pleasure to have this! The version of Glueman is incinerating (think Roseland Ballroom '93). I can't wait to check out the following night, much obliged!!

one of the best most fun live shows i have ever been to. i actually think about it often and wish the live experience at shows was like this one. i am so happy i am of the age that i got to see most of these shows when the band was in LA it brings back great fun and fond memories of my early 20's when we lived for live music. thanks to all for making this series happen.

Benefit for Rock for Choice featuring introduction
by Kim Gordon and Alex Winter!

Play Sample Track

1.

Opening Remarks

2.

Intro

3.

Turnover

4.

Greed

5.

Interlude 1

6.

Runaway Return

7.

Reclamation

8.

Interlude 2

9.

Dear Justice Letter

10.

And The Same

11.

Interlude 3

12.

Margin Walker

13.

Bad Mouth

14.

Burning

15.

Interlude 4

16.

Suggestion

17.

Give Me The Cure

18.

Interlude 5

19.

Long Division

20.

Exit Only

21.

Blueprint

22.

Interlude 6

23.

KYEO

24.

Encore 1

25.

Glueman

26.

Outro

Please Note:
Available recordings have been mastered to correct for volume shifts, drop outs, etc. but some sonic anomalies will still exist, especially early in the set when the mix is being settled. The band has rated each show for sound quality and set the general price of a download at $5 per show. If you have a different price in mind feel free to utilize the alternative pricing option.